http://iculture.spb.ru/index.php/stucult/issue/feedStudia Culturae2018-10-29T13:47:30+03:00Ю. М. Мальцеваmaltsevajuli@gmail.comOpen Journal Systems<p><strong>ISSN: 2225-3211<br />E-ISSN: 2310-1245</strong></p>http://iculture.spb.ru/index.php/stucult/article/view/987ON THE IDEA OF «THE RUSSIAN IDEA»2018-10-11T10:59:01+03:00ZHENG YONGWANGmaltsevajuli@gmail.com<p>Research on «the Russian idea» has been done mostly at a philosophical level, because «the Russian idea» was, and remains an expression of Russian national spirit and national will. The Russian thinkers put stress on the fact that the Russian nation is a chosen nation by using such political and religious discourse as «Moscow is the Third Rome», while the Russian litterateurs indicated this attitude between the lines in literary texts. Nonetheless, no matter in what text «the Russian idea» is reflected, it cannot be torn away from the pre-logic related to language, viz, it cannot isolate itself from the Greek philosophical genes which is inherent. When the noun «idea» collocates with the adjective «Russian», what we derive is not a simple phrase but a code name for Russian philosophy. In this case, it is only when we make an in-depth exploration into «the Russian idea» from the perspective of language that can we decode the philosophical connotation of this concept.</p>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/990SOCIAL TRANSGRESSION REFLECTION IN THE CONTEMPORARY ROCK MUSIC OF ISLAMIC REGIONS2018-10-11T10:59:01+03:00А. Е. VYKHOVANETS / А.Е. ВЫХОВАНЕЦmaltsevajuli@gmail.comO. K. MIKHELSON / О. К. МИХЕЛЬСОНmaltsevajuli@gmail.comThe paper treats contemporary rock music (especially genres of heavy metal and black metal) in the countries with Muslim majority. The ambivalence of the attitude to singing and music in Islam is reflected in the paper and the main theological positions on the issue are presented. Methodologically basing on K. Kan-Harris’s concept of heavy metal as a transgressive practice, rock music popularity with modern Islamic youth is seen as a reflection of Islamic regions social transgression. The paper briefly presents the history of rock music in Islamic countries, discusses the work of particular groups in its connection to religion, demonstrates that the widespread popularity of rock music in Muslim regions is tightly linked to Muslim youth current problems: through music they try to overcome the conservatism of traditional society, national and religious disunity, to draw attention to gender inequality, to achieve freedom of expression, to find a new identity in the changing world.2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/991CULTURAL TRAUMA OF GERMANY IN THE DISPUTE OF KARL JASPERS AND MARTIN HEIDEGGER2018-10-11T10:59:01+03:00V. V. DUDINETS / В.В. ДУДИНЕЦmaltsevajuli@gmail.comN. A. ARTEMENKO / Н.А. АРТЁМЕНКОmaltsevajuli@gmail.com<p>Up to now the topic of trauma and traumatic experience is increasingly becoming the subject of detailed scientific analysis. Nevertheless, it can be argued that for all the variety of works, the term «trauma» has not yet been adequately described. It is obvious that the overthrow of the totalitarian regime, the defeat in the war and the division of Germany made a traumatic event for German culture. In the period from 1945 to 1963, the first German works on the problem of comprehension of the totalitarian past appeared and the problem of the Holocaust began to be actively discussed. A vivid example of such a discussion is the dispute between Jaspers and Heidegger. The article focuses on the different positions of the two most prominent philosophers on the issue of Germany's «guilt». A special place in the debate of Jaspers and Heidegger is the Holocaust. The events of the 20th century caused doubts about traditional liberal values and rationality. The question «What is the Holocaust?» is still relevant, despite all the attempts that have been made to find the answer to this question. In connection with this topic, the article mentions the position of H. Arendt and her «non-standard» solution of this question.</p>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/992TO THE PROBLEM OF THE PERCEPTION OF ITALY IN THE WORLD CINEMATOGRAPHICAL PRACTICES2018-10-11T10:59:01+03:00I. L. KAZAKOVA / И.Л. КАЗАКОВАmaltsevajuli@gmail.comА. V. SMIRNOV / А.В. СМИРНОВmaltsevajuli@gmail.comIn this article the description and the analysis of perception of Italy in the world cinema (with exception of the Italian cinema as the object of the research is the perception of Italy as other and not self-perception) is executed according to the theory of the zones of cultural exclusion. By the usage of actualization of selected themes the image of Italy, its culture and lifestyle in cinema is constructed and then broadcast and spread in the world outside of the country. During the study of the empirical material it was noted that there is a number of actualized themes which could be steadily found thruoghout films of different countries of origin: cuisine, tourism, poverty and criminality etc. There is also a notable perception of Italy through the enjoyment of its cuisine (in its limited variety) and history though the filter of tourism. The enjoyment of the cuisine is an expression and focal point of idea of enjoyment of Italian lifestyle, together they express the perceived nucleus of identity. At the same time the biggest zones of exclusion are politics, technological progress and Italian history at its depth and, therefore, the connections between the modern Italy, its inhabitans and its touristic image.2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/993Z. FREUD’S IDEAS ON RATIONALISTIC PACIFISM2018-10-11T10:59:01+03:00L. А. KLYUKINA / Л.А. КЛЮКИНАmaltsevajuli@gmail.comО. A. GERCHINA / О.А. ГЕРЧИНАmaltsevajuli@gmail.comIn the article authors analyzes the ideas of Z. Freud about the causes of the war and the peacekeeping role of culture. The authors substantiate that these ideas can be used as a philosophical justification for the ideology of rationalistic paci-fism. The authors show the relevance and expediency of using the ideas of ra-tionalistic pacifism in the practice of upbringing and education of modern youth.2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/994ON THE HISTORY OF THE DEVELOPMENT OF THE CONCEPT OF TYPE (AND TYPOLOGICAL METHOD) IN NIKOLAI KAREEV’S METHODOLOGICAL WORKS2018-10-11T10:59:01+03:00Е. N. MOTOVNIKOVA / Е.Н. МОТОВНИКОВАmaltsevajuli@gmail.com<p>The article presents the results of a study aimed at clarifying the prerequisites, meanings and contexts of the use of the concept «type» in works on the historical methodology of N.I. Kareev, whose scientific biography developed at the junctures of historical and philosophical-methodological epochs. It turns out that Kareev's methodological search is a complex multidirectional movement, not always adequately reflexible for the scientist himself. In this movement, the conceived method and the methods of solving the research problems (or presenting its results) implemented in the work performed do not at times coincide. This discrepancy is a necessary manifestation of vitality, of the organic nature of the ways of thought and cognition. Methodological Kareev’s creativity is interesting from the point of view of the task to reveal the influence on the thinker of his ideological and historical environment. It is the influence of the philosophical and scientific ideological and methodological context that can explain the metamorphosis of Kareev's judgments, when he passed from the categorical denial of the legitimacy of the typology of N.Ya. Danilevsky (cultural-historical types) to the substantiation of his own understanding of the typological method. On the basis of a comparative analysis, we can state that the understanding of the typology in the works of the historian and the methodologist of historical knowledge during the three decades of the turn of the XIX-XX centuries varied in the most significant way. Apparently, this was mainly influenced by the researches of the typological method in N.I. Kareev's contemporary positivistic and neo-Kantian logic and methodology of science.</p>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/995MARC BLOCH: THE EXISTENTIAL CHOICE OF A MEDIEVAL HISTORIAN2018-10-11T10:59:01+03:00R. YU. SABANCHEEV / Р.Ю. САБАНЧЕЕВmaltsevajuli@gmail.com<p class="NoSpacing">The author of this article analyzes Marc Bloch's intellectual biography. He reveals the main factors that influenced the choice of the medieval historian's research path. The author relies on the memories of L. Febvre, as well as on the works of A. Ya. Gurevich and J. Le Goff in M. Bloch's reconstruction of existential choice. </p>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/996not2018-10-11T10:59:01+03:00Y. M. MALTSEVA / Ю.М. МАЛЬЦЕВАmaltsevajuli@gmail.comnot2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/997TRANSFORMATION OF THE CONCEPT OF THINGS IN MODERN CULTURAL AND PHILOSOPHICAL THEORIES2018-10-22T17:11:18+03:00L. P. MORINA / Л.П. МОРИНАmaltsevajuli@gmail.com<p>The article is devoted to the reflection of evolution of the concept of things in the cultural and philosophical tradition. The author reveals the General trend of ontology transformation, moving focus from subject to object, «giving words to the things themselves» (M. Merleau-Ponty»), what can be denoted as a «thing turn». The concepts of «atmosphere» by G. Böhme, «grain of voice» by R. Barth, «ecstasy of things» and «temptation» by J. Baudrillard are analyzed.</p>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/998GRASPING THE OBJECT: HEGEL2018-10-14T00:19:16+03:00B. G. SOKOLOV / Б.Г. СОКОЛОВmaltsevajuli@gmail.comTo clarify the still unexplained phenomenon of the Object, the author of the article refers to the works of Hegel, namely to the Science of Logic and the Phenomenology of the Spirit where Hegel analyzes the status and dialectic of the Thing. The author suggests reading the Hegelian dialectic of Object as a phenomenological eidetic description. As a result of such a reading of the Hegelian dialectic, the author comes to the following conclusions. First of all, the Object is dynamics, development, it is not static. «Eidos» of the Object is the eidos of an attitude movement. What we think of as the Object is always the «result» of a attitude. Attitude is the model according to which any Object is constructing. The Object is not that which is spontaneous, independent, and therefore we constitute and understand it as always as not-and-alive, although it responds to the dynamics of development. The Object is always a dialogue when the object and consciousness are not only impact on each other but are included in the overall process of change. On the one hand, the Object can be said to be humanized, on the other hand, the consciousness becomes reincarnated. Although the Object is relatively independent of our consciousness but the unity and symbolism of Objects are infected with the consciousness of human. The Object is not only perceived or produced by human but is also collected into consciousness by consciousness, and it, consciousness, infects it with those «senses» that come to this world not from the external world of objects, things, but from the very consciousness of human.2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/999RENÉ GUÉNON AS A POSTMODERNIST2018-10-11T10:59:01+03:00D. V. KRUTOLAPOV / Д.В. КРУТОЛАПОВmaltsevajuli@gmail.com<p>This article examines the traditionalist concept of René Guénon as a project that creates the prerequisites for the emergence of postmodernity. Guénon begins his traditionalist project as a critique of modern era from a traditionalist standpoint. However, to achieve his goal, Guénon resorts to reconstruction of traditional, religions, thereby forming a situation of equality of religious discourses, which is a characteristic feature of the postmodern situation</p>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/1000PERCEPTION OF SPACE AND TIME IN CULTURE DURING THE MEDIEVAL ERA2018-10-11T10:59:01+03:00Y. I. MILEKHINA / Ю.И. МИЛЁХИНАmaltsevajuli@gmail.com<p>This paper will explore the organization of space-time models of society during the Medieval Era. Medieval man used art, iconography and, architecture to represent the peculiarities of space-time, as they were best able to reflect the semantic traces in their culture. The paper will mainly cite two works: «Categories of Medieval Culture» A.Y. Gurevich and «Semantics of Art» B.A. Uspensky, which theoretically justify many of the provisions given in this work.</p>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/1002TIME, MEMORY, TRAUMA: BETWEEN BEING AND NON-BEING2018-10-29T13:47:30+03:00N. A. ARTEMENKO / Н.А. АРТЁМЕНКОmaltsevajuli@gmail.com<p>There are such concepts and terms, adherence of the epoch to which works as diagnostics of this epoch, a sign of the epoch. For our time such concepts of course are the concepts of «memory» and «trauma». These two concepts are firmly connected in the minds of not only researchers of history, but also in the everyday consciousness of modern man, which makes it possible to speak of a и «boom» of memory, provoking close attention to the past, to narratives about the past, to ways of their folding, living, sedimentation. But memory and memory practices are closely related to oblivion, which in turn indicates the need to eliminate information that has a destructive effect on the human psyche and the structure of social consciousness. Oblivion could be called a «memory trauma», meaning by this those events that have a destructive meaning for both personal and social (including national) identity. So memory begins to be associated with the concept of trauma. And we already see how along with the typology of memory (collective, cultural, historical) there is a typology of trauma (collective trauma, cultural trauma, historical trauma). The last concept, the concept of trauma, has become so widespread, moving from the language of scientists to the language of newsmen, which makes us look more closely at the connection between memory and a traumatic event.</p>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/1003SUBJECT AS TRAUMA AND AESTHETIC OPPORTUNITIES OF ITS OVERCOMING. ON THE MOTIVES OF «HEART OF DERKNESS» BY J.CONRAD2018-10-11T10:59:37+03:00S. B. NIKONOVA / С.Б. НИКОНОВАmaltsevajuli@gmail.com<p>The article raises the question of the traumatic and catastrophic essence of the West European concept of the subject, since this concept is based on negativity, which follows from the paradox of the act of reflection. The formation of that concept of the subject is associated with theological attempts to determine its action in relation to the incomprehensible God. The essence of the subject is likened to the apophatic essence of God. It is suggested that J. Conrad’s «Heart of Darkness» (1899) reveals the problematic nature of such an understanding of the subject, which is revealed at that stage of its development, when it manifests itself as a total will to power, centering and subordinating the whole world to itself from the position of absolute nihilism. It is shown, however, that this nihilistic position can be overcome through a transition to aesthetic contemplation, which completes the subject’s path to God-likeness.</p><span lang="EN-US"><br /> <!--[endif]--></span>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturaehttp://iculture.spb.ru/index.php/stucult/article/view/1005SACRED MUSIC TO OPERA: THE LANGUAGE OF SILENCE, OR THE SILENCE OF LANGUAGE?2018-10-11T10:59:37+03:00A. K. NOVIKOVA / А.К. НОВИКОВАmaltsevajuli@gmail.com<span lang="EN-US">The article analyzes the evolution of the relations between music and language and its consistencies in the context of the process of anthropologizing of music. As a marking for these relations grade are normally the concepts of «speaking», «silence» and «quiet» are used As a result, the music language is defined as a special language of conscious illusion of reason, serving to bring the true silence to the world. In this silence lies the traumatic element of emptiness, which makes a person irreducible to language and at the same time turns it into the basis of the possibility of being as a language. The Opera-principle turns out to be extremely traumatic, tearing the human away from their casual existence limits, while at the same time giving the opportunity in this painful zone of emptiness to develop himself as a subject and draw from himself the principle of building a world of culture. <br /> <!--[if !supportLineBreakNewLine]--><br /> <!--[endif]--></span>2018-10-29T13:49:31+03:00Copyright (c) 2018 Studia Culturae